We focus on producing critical, creative, meaningful and moving documentaries.
The Elected (2022)
Throughout the years, women have been a minority in the Israeli Parliament (Knesset). Their right to vote or be elected was never a given, and remains a struggle to this day. Through interviews with MKs, experts and journalists, combined with rare archive footage, this series documents their struggle for representation and a seat at the decision-making table, women's legislation, the harassment they underwent, gender inequality and the possibility of heading a political party and even becoming Prime Minister. With rare candor, past and current female MKs from various political parties share their journey to the Knesset.
Body Edge (2022)
In modern affluent societies around the world, and Israel in particular, there is an intense-growing preoccupation with the body. The series Body Edge tells the story of Israeli society at a time when being obsessed with your body has become the new normal.
A Guide to Gentrification (2021)
Jaffa, once a major port city in the Middle East, has grown into an international tourist center, a coveted destination and last but not least a true real estate gem. Tourists, partygoers and the new residents are charmed by Jaffa’s oriental style and romantic authenticity, but beneath the shiny surface lurk racism, greed and injustice.
Hot Blood (2021)
Daniela (16) and Ohad (17) are determined to make their dream come true and become kickboxing champions. Beside the demands of the sporty lifestyle, studies and matriculation they also have to deal with opposition from the families. Will they refuse to surrender? Will their persistence will lead them to reaching the World Youth Competition in Venice and win?
No Hard Feelings (2021)
Three decades after she arrived in Israel from the city of Derbent in the Caucasus, Sarah debates whether she should immigrate again, this time to America. She hopes to find happiness there, but more importantly, she is seeking to escape from her complicated, abusive relationship with her husband and the suffocating Sisyphean routine her life has taken in Israel.
An Ordinary Life (2019)
Fadhumo and Helen are two refugees seeking sanctuary, one in Tel Aviv and one in Berlin, each coping with discrimination, otherness and a life away from home. The two close friends become social activists determined to assist women like themselves and to provide a better future for next generations.
Divorce Denied (2019)
Sarah has been refused a divorce for two years, Noa has been waiting for three years, and Oshrat for nine years. The freedom of these women and hundreds more in Israel is in the hands of their husbands and the rabbinic courts. According to Jewish religious law, which is also the national law in Israel, only the husband has the power to grant a divorce. Women find themselves chained to their husbands against their will, even if the separation was mutual.
Shalev's parents immigrated to Israel from the Caucasus. He is torn between his need to remain a child and his father pushing him into manhood. Shalev’s father fights for his son to have a better future than his and teaches him values in unorthodox yet creative ways. Shalev’s mother, who left her husband, is now requesting to regain contact with her children.
Adoption Diaries (2019)
With a rare candor, Adoptive Diaries shows the process of adoption from the beginning and details the process as it advances in an intimate, honest and thought-provoking manner. Three stories are told with moments of optimism, fear, lows and highs. The film consists of video clips taken by parents during the process. The footage reveals rare and intimate moments, including a peek into the children’s homes in Russia, their first meeting with the child , arrival to Israel, the meeting with the extended family, and life itself. The parents share their brave introspective thoughts with the camera with the perspective of years as a family with the child that joined.
Arabic Movie (2015)
It was truly a 70s Israeli ritual: sitting at home on Friday afternoon, watching the only channel of Israeli television while an Arab film was screened. We had never asked ourselves how the official Israeli television obtained these films while there were no relations with our neighbors. Why have we turned to be addicted fans of Egyptian comedies and melodramas, sharing the same cultural heroes and admiring the same movie stars, while Egypt was our arch enemy? The Arab film became a hatch to a world we could not reach, but most of us failed to see and understand
Sound of Torture (2013)
Live calls from the torture camps in Sinai: since Europe closed its borders in 2006, thousands of Eritrean refugees flee their military dictator-ruled country north to Israel, their gate to the west, crossing the Sinai desert. There, many are kidnapped by Bedouins and taken to one of the hidden camps. The multi-award winning film intimately follows Meron Estefanos, an Eritrean journalist-activist living in Sweden since many years, running a popular online radio program, publishing the stories of these camps while recording their inmates' pleas for help. We are with Meron when she searches for Timinit, a girl of 20 years who arrived at the Israeli border but from there is never seen again. And we follow the story of a man who desperately tries to free his wife, who gives birth to their child in captivity.
Road 443 leads from the Mediterranean Sea to Jerusalem. That's why it has long been a major artery of physical (military) and spiritual (ideological) importance. Since Biblical times, man has fought for this land. I set out to film this road. Admittedly, it's a bit odd to film a road; to meet the people at its sides, to learn about the places, stories and myths rooted in the land linking Tel Aviv to Jerusalem, the coast to the mountain, the sacred to the profane, Arabs to Jews, war to peace. This is a fragmented road trip of encounters with people and places. Minor yet poetic moments; observations of a life whose physical dimension is blocked, leaving people with the mystical. The film focuses on everyday life, on life around the road. It therefore ignores the "big" stories, real politics, the obvious, banal things that dominate television and newspapers. Continuously subjected to the violence of occupation and war, the people at the sides of the road live an unusual routine, a surreal reality. God, history, and the primal desire for a home are the driving forces for our characters. Together, little narratives form a delicate, thin, illusive storyline.
Yellow Mums (2010)
Nizar (9) is a young Palestinian introverted altar boy and a social outcast. During this years' Easter, Nizar decides to compete with the village children in the traditional "breaking eggs" games. His goal is to collect as many eggs as possible in order to sacrifice them in the village church to his beloved Jesus. Nizar's egg is "Mashmaa" (a fake egg that is hardened by wax). Only he and Jesus know this fact. The danger of getting caught is very imminent. Nizar manages to collect many eggs and to gain respect from the village children, until finally he is caught. It would be the first time Nizar questions his faith.
Queen Khantarisha (2009)
Ask anyone to describe a Yemenite Jewish woman and they’ll picture her smiling: a dark beauty with childlike charm. But Yemenite women are also exalted for their docility as housewives and diligence as domestic workers. So what’s there to smile about? Through the portraits of three Yemenite women writers, the film looks at the diverse and resistant ways one can be Yemenite and female in Israel.
Three funerals, three generations, two wars and one boyfriend waiting in Tel Aviv. A troubling portrait of the filmmaker, a son to one of the founding families of Metula (a town on the northernmost Israeli border). Against the backdrop of a family dealing with illness and death, the film's protagonist is repeatedly called for reserve duty as a Tank Commander in the Israeli army. Through use of archive footage of events filmed over the course of a decade, the tragic-comic clash between the filmmaker and the habit of obedience unfolds
Jaffa - The Orange Clockwork (2008)
Jaffa - The Orange's Clockwork, narrates the visual history of the famous citrus fruit originated from Palestine and known worldwide for centuries as "Jaffa oranges". The history of the orange is the history of this land. Through photography, cinema, poetry, paintings, workers of the citruses' industry and historians and past and present mythologies, Palestinian and Israeli culture cross and combines. The close reading of the Jaffa brand's visual representation is a reflection on western orientalist phantasms surrounding the 'holy land' and the 'State of Israel' and a tool to reveal the untold story of what was once a commune industry and symbol to Arabs and Jews in Palestine. Jaffa - The Orange's Clockwork is a political essay unfolding the story of the invention and the visual history of the world's most famous citrus fruit which originated in Palestine and is known around the world as "Jaffa" oranges. While the orange become the symbol of the Zionist enterprise and of the state of Israel, for Palestinians it symbolizes the lost of their homeland and its destruction. Through a careful reading of the visual representation of the brand, the film reflects on western phantasms related to the 'Orient' the 'holy land' and the State of Israel and unveils the untold story of what was once a communal symbol and industry to both Arabs and Jews in Palestine. The oranges of Jaffa, the fruits, the orchards, the brand name and the city that gave the fruit its name, is the backdrop of the communal Jewish-Arab life in Palestine before the establishment of Israel. the colonial covetousness, the account of obliteration, nationalization, then repudiation in order to propose a joint historical narrative, and a brand of hope for the future
Pizza In Auschwitz (2008)
At the age of 10 Dani Hanoch arrived to Auschwitz. His job was to evacuate the cloths of those who didn't need them anymore. His dream was to take his children on a journey to the places of his lost childhood and to spend a whole night in a barrack
An Ashkenazi revival is underway: young Israelis of European origin are searching for a past cultural heritage but also a future identity politic. As far as they’re concerned, Israeliness is bankrupt. What accounts for this change of heart among Ashkenazim—Israel’s dominant ethnic group that has always taken itself for granted as the unnamed “white” norm?
Gole Sangam (2007)
Gole sangam is the stone flower in Farsi. The flower that can bloom only from the stone (cyclamen). The film follows two elderly Jewish women, Ilanit and Naima, who immigrated from Iran to Israel 50 years ago and live in a slum. Married at the tender ages of 12-16, they moved from the dominated homes of their parents to those of their husbands. Ilanit lived with a husband who humiliated and bit her but still she took care of him when he became sick. Naima has good relations with her husband, surrounded by her children and grandchildren, but has always served them and fulfilled their wishes and dreams. Now, 70 years old, they reflect on the choices they have made and the choices they were forced to make. Sarit, the director, an Israeli-born Iranian Jew, 30 years old and unmarried, is trying to find through the past of Ilanit and Naima some answers about the future of her relations. The film raises questions about love, relations, femininity and dreams
Strawberry Fields (2006)
Last year's attack at karni trade crossing in Gaza,was a death sentence for strawberries destined for export.The crossing was closed and quality strawberries were sold cheap in Gaza.We follow 5 months of strawberry cultivation from planting till their arrival to Europe;the influence of events in the region;the deals struck between Palestinian growers,Israeli marketers and the security system.Will the strawberries reach Europe this Christmas!?
Arna's Children (2004)
Yussef committed a suicide attack in 2001. Ashraf was killed by the Israeli army in 2002. Alla led a group of fighters to his death in 2003. The director, who documented them as promising child actors in a theatre group he founded with his mother Arna, returns to Jenin Camp in April 2002, to see what happened to the children he knew and loved…